Cancelled Comics Commentary
No data to be found here.
Volume 3 #50 (Marvel): After what's happened in the past
two years, what with the abominable Marvel Knights series, this is
something very miserable for me to have to discuss. Namely, the
cancellation of this volume, which was very good when it was going,
and was then sacrificed for political correctness.
When the MK series came around, I just can't begin to tell how
astounded I was when I realized that it was doing the exact opposite
of what the Living Legend stands for, namely, implying that the
United States is to blame for its own victimization in terrorist
attacks of the kind that took place during 9-11, not to mention
anti-Americanism, I was just simply stunned. And with the inclusion
of a very repulsive dialogue between Steve and a German punkette on
a plane to Germany, where, they actually go so far as to compare the
bombing of Dresden to the attack on the World Trade Center, I was
simply driven away from that now unreadable dud.
To turn to this currently cancelled series, when Mark Waid did the
writing during the first year or so, it worked very well, and Cap's
relationship with old gal pal Sharon Carter, alias Agent 13, was
done very well. But then, TPTB decided to interfere, and so, Waid
left, with Dan Jurgens taking over, and sadly, his work didn't
manage to stir up enough readership to keep it going.
When 9-11 occured, you'd think that Marvel could've had a golden
opportunity to make the victimized American citizen cheer by writing
Captain America some stories in which he could've dealt with the
menace of terrorism in tour de force style. Instead, they threw it
away with a shockingly lugubrious and insulting book in which just
about everything Cap stands for and is like was insulted and
humiliated in unbelievably shameless fashion, driving away fans and
bringing down the sales in the process, and worst of all, to say the
least, insulting a generation of Americans and other people around
the globe whose lives were destroyed by modern-day terrorism. How
low could they possibly go?
Fortunately, that appears to have changed for the better, with the
new Captain America & the
Falcon series soon to debut, written by Christopher Priest,
and which will hopefully grant him the proper freedom to write Cap
and Falcon both true to form. It's a revival of the casting idea
that came up in the 1970's, when Falcon was a co-star in Cap's book,
an idea that was surely inspired by the teaming up of Green Lantern
and Green Arrow when Dennis O'Neil was writing that book. I
certainly hope it works out for the better, since, after the Marvel
Knights abomination, Cap is sorely in need of a patriotic tune-up.
Even more luckily, the series has been restored as of this writing
to the regular Marvel line, and better still, old girlfriend
Diamondback may be back!
The Defenders #12 volume 2 (Marvel):
Frankly, I don't think TPTB gave this attempted revival of the
Bronze Age title led by Doctor Strange much of a chance to begin
with, but then again, there's a lot of things they don't give much
of a chance these days.
The series first began in 1972, and ran quite a while, featuring a
team consisting mainly of Doctor Strange, who would also summon up
such characters as the Silver Surfer, Hulk, Sub-Mariner, Black
Panther, Valkyrie, Hellcat, Jack Noriss, Gargoyle, Nighthawk, and
even, get this, the Elf With a Gun! It was created by such stalwarts
as Roy Thomas, Steve Englehart and Sal Buscema, and featured this
loose-knit team of misfits (well, with the Hulk in on the action,
who says they can't be?) battling mainly occult and magic-related
threats to the universe, and it even served to finish up a few
unresolved plotlines from other books that went unfinished at the
time (one most notable example was the erstwhile Omega the Unknown,
who lasted for about three years in the MCU, and remains as obscure
as his own title).
Erik Larsen and Kurt Busiek, both talented writers alike, tried to
restart the magic of yesteryear, and with Valkyrie on board again,
what more could you ask for? But alas, it just didn't work, and
thanks to the management of then, that's probably but one reason why
it didn't get the attention it deserved, and the adventure themes
upon which it was based were largely squandered at the time.
Then again, that's pretty much what they're doing even now.
The Brotherhood #9
(Marvel): Well hereís one X-related series I most definitely wonít
be missing, this one about Ė get this Ė an extremist terrorist gang
of mutants, which is almost similar to the PLO and the Hamas. It
came out around the time of 9-11, and that was one of the reasons it
got cancelled, and the best thing I can say about it is: good
Iím sorry to say, but the concept of focusing on the criminals as
the stars of the show is a fragile one at best, and in this
politically correct age of ours, thereís a highly probable chance
itíll end up being geared to focus on the evil in a sympathetic
light, as was tragically done in the Marvel Knights series of
Captain America. And it certainly wasnít any better in this dud,
which is now thankfully down the drain.
Some risks just shouldnít be taken, and if the House of Bad Ideas
hadnít put this in the can as soon as they did, it could have become
a millstone around their necks.
No data for this month either.
Cow): this series owned by the late artist/writer Michael Turner
himself had to stop publication at the time because he'd been
diagnosed with cancer, which unfortunately cost him his life 4
The premise was about a young girl found by naval officials at
sea who could only recall that name was Aspen, and was
apparently part of a race of aquatic humanoids called the Blue
who could influence water molecules, explaining in part why she
enjoyed swimming in the ocean so often. During the time it was
being published, there was even one story that co-starred Lara
Croft and Sara Pezzini of Tomb Raider and Witchblade,
respectively, since both heroines were also being published by
Top Cow at the time (as can probably be expected, this
particular story, called Resurrection of Taras, may not be
available in trades due to copyright problems). It was revived
eventually, with Turner doing at least one more story, and other
writers and artists taking over after he passed on.
As can be expected from a book with an artist as talented as
Turner was, Aspen was quite a hottie, and I wish I could say I
appreciate this concept more than I do, but Turner's willingness
to draw the covers for Identity Crisis in 2004 have sabotaged my
ability to fully admire it. That's why I don't see myself in a
rush to buy anything connected to Fathom in the near future.
The Authority #29
(DC/Wildstorm): Well now, let me step forward and surprise anyone
who's a fan of this series by just saying that I won't be missing
it, and couldn't care less that this volume was put to rest. Here's
The series, such as it was, was about a group of would-be
superheroes who took "fighting evil" in unorthodox manners, yet they
themselves, it appears, were just as bad as their own enemies. In
one storyline, they even massacred an entire nation because they
didn't agree with its policies and such.
Given the level of nihilism and other questionable details here,
which even went so far as to come up with a idea that insulted
Superman and Batman, it doesn't surprise me that DC preferred
that this be cancelled, especially after 9-11, and one issue was
posponed because of a scenario in it that looked very much like the
team was sifting through the rubble of a building wreck.
I suppose there are some people to whom this kind of mess appeals
to, but I'm not one of them. Most of the time, it seems that series
like this one from Wildstorm only exist as political tools for the
writers, which even included Frank Miller of Daredevil fame, to platform
And if that's how it's going to be, then I don't have any business
with duds like these.
(DC): I think this character was one of Jack Kirby's New Gods, a very interesting
one too at that, since he's the son of Darkseid, and, like his
warlord father, the ruler of Apokolips, he too first appeared back
in 1971. But the difference is that he was raised under the
idealistics of truth and justice by the gods of New Genesis, and
while he does have to work hard to control a violent nature and the
urge for battle that he was also born with, he's been loyal to the
adoptive people he was raised by and is willing to die to defend the
cause of good. And Orion's was said to be one of the best books of
the dawn of the 21st century. Mainly because the talented Walt
Simonson, writer and penciler on this series, was able to sidestep
at least one crossover, that being Our Worlds at War...but sadly not the other, that
being Joker: Last Laugh.
(And no, I really don't want to think who it could be who got
jokerized there. What's the use?)
Orion was a title that most definately deserved better than it got,
but good editorial with good promotion, sadly, is just so hard to
find. Fantasy series of this kind are some of the grandest concepts
around, and like the rest of the New Gods, Orion too is one of King
Kirby's best creations.
The Authority #29 vol. 1
(Wildstorm/DC): oh gee, this is something I sure wouldn't miss if it
had stopped at this point. Created by Warren Ellis and Bryan Hitch
and spinning partly out of Stormwatch, it told of a superhero team
that's even willing to use deadly force to get the job done. But it
was so plagued by annoying leftist politics, no matter how subtle,
especially when Mark Millar took up the writing chores, that
avoiding it would make for a much better option. Honestly, I am not
amused by its supposed edginess, and how the writers thought they
were being clever by featuring two gay protagonists named Apollo and
Midnighter - apparently a homosexual variation on Superman and
Batman - which was little more than sensationalism. The same goes
for the vicious violence that overran its storyboards. Interestingly
enough, it actually got into problems with DC's concerns that it
would draw negative controversy over Apollo and Midnighter's
same-sex affair with each other, and issue #23, which was delayed
due to the terrorist attacks on 9-11. There was even a planned
special subtitled Widescreen that got canned altogether because of
the violence in the story. Today of course, in the era since Dan
DiDio took over, it's more likely those stories would be
greenlighted within an instant.
The Authority would be revived about a year after this volume ended,
and not much more successfully.
(DC/Wildstorm): The kind of title that ends just as itís beginning
to receive some improvements in writing, even though it was
relaunched intentionally the following month. Why do they have to do
things like that?
Gen13, which first began as
GenX in 1993 and then had
its title changed because Marvel sued to prevent Wildstorm, then
under the Image umbrella, from using a title similar in some ways to
their own Generation X,
was about five teenagers, Caitlin Fairchild, Burnout, Freefall,
Grunge, Rainmaker, whoíd been subjects of a superhuman power
experiment by shady government outlets, and fled with the father of
Burnout, also superpowered, to New York and later Califonia as
fugitives (In 1999, there was a made-for-video cartoon produced by
Paramount based on it). The series wavered between having the
characters wear superhero costumes or just plainclothes, between
such angles as adventure, whether in time or space, and broad sexual
farce, and while they were always appealing characters, and the
series had some great artwork, for something that was started in
part by J. Scott Campbell, its main problem was that it had
considerable difficulty in finding a suitable direction, whether
superhero or serious young adult dramatics.
They also put in some pretty tacky things, like writing that
Rainmaker was bi-sexual, something that had been implied very early
in the series, and I suppose the problem regarding Grunge was that
his name, which was meant to be a takeoff on a funny slang from rock
groups in the 1970ís, apparently was a joke that few managed to get.
In the last issue of this volume, they seemingly killed off Ė what
was that Ė four out of five of the characters? And they did it
leaving only Caitlin surviving.
I do like the characters here, and I think itís a shame that they
didnít do a better job than they couldíve. But it does look like,
thankfully, theyíre not going to just kill them off forever, and I
hope that in time, theyíll find a better direction for them.
I guess maybe that's why I'd like to post here some ideas that I
once had and wrote to somebody into comics, for anyone's amusement,
of what I'd like to do to improve Gen13:
I know a book that can be improved,
is worth saving, or thatís got potential to it, and in my opinion,
Gen 13 is a title with potential worth making some improvements
in. This, after all, is a comic book that was very popular when it
first came out in 1995, but whose popularity has slumped in the
past year or two, courtesy of hack writers such as Scott Lobdell,
who really got on my nerves this year. But, as Iím pleased to
report for anyone whoís interested, itís starting to get better,
thanks to the current writers led by Adam Warren.
And if it needs any more
improvements, then here are some ideas I once mentioned [to
someone else once]:
1] Caitlin Fairchild could enroll
in college, and given that she's the kind of sexy babe who can
send all guys hearts aflutter, this could lead to some very funny
situations of where she'd put all her male co-eds in a trance. And
she could hook up with and become the protector of any boys whoíre
being harrassed by bullies, giving the bullies a good flattening
whenever they try to stand in her way.
2] Have all three of the Gen girls
be supermodels, which could lead to investigating all sorts of
crooked activities behind the scenes in the modeling world, and to
work undercover in such a profession as well. It's partially Miss
Congeniality that gave me that idea.
3] And Grunge could certainly
become a store clerk, although, I think a 7-Eleven would be the
most fitting place for him to work.
4] And, maybe they should all move
down to a beach house in Malibu, since that'd be more ideal place
for GenXers like them to live. And then have them throw parties in
their spare time.
5] And whether the writers want to
write Gen 13 as action adventure or as a look at how youngsters in
America feel, they should make it more clear, ditto whether they
have a mentor figure and costumes.
6] And yes, they should have some
serious recurring enemies who can prove a challenge to them
7] But perhaps most importantly of
all, they should have a few causes for fighting: like, should
Caitlinís be her dad, who I think had undergone a GenActive
experiment himself too? I think that could work very well, ditto
8] Have Caitlin wear some more heavy eye makeup. Sometimes it
seems to me as if most comic book women, no matter how well made
up they are, donít seem to be wearing any eye makeup, which could
really make them look droolingly sexy. Ditto for Rainmaker and
If the publishers at Wildstorm were
to take these suggestions, then I think that they could make
things better all over again for the Gen team.
If these ideas of mine were to be accepted, then who knows, maybe
Gen13 could get some real charm to it. And Caitlin for one could
sure use it.
(DC): Itís amazing as to how some ďsecond-tierĒ titles like this one
make it to the 100th issue, but while itís a pity to see Kon-Elís
own series go, at least it got as far as that.
Kon-El, the teen version of the Man of Steel in todayís DCU, first
appeared in 1993 as the result of a cloning experiment conducted
illegally by the scientist Paul Westfield, who attempted to clone
Superman following his ďdeathĒ at the hands of Doomsday. He wasnít
an actual clone, mind you, since, heíd actually been cloned from
human DNA mixed with some of the Man of Steelís. He later spent time
in Hawaii, and ended up getting his own solo book pretty quickly the
year after his debut.
And he made a pretty good addition to the Super-family, but, alas,
DC let his book lose ground, and it all came down.
For now, Superboy can certainly be seen in the new volume of Teen Titans written by Geoff
Johns. And he certainly does well there.
Ultimate Marvel Team-Up #16
(Marvel): An imitation (of sorts) of the popular semi-anthology
series starring Spider-Man alongside other notable characters in
various adventures in the MCU from the Bronze Age, this was
apparently extinguished deliberately, to make way for other Ultimate
Itís really odd, but most of the characters here who got the
Ultimate treatment, including Iron Man, the Hulk, and even the
Punisher, didnít look exactly like what came afterwards based on
them in this spinoff universe whose foundation is questionable, and
whose published series are otherwise appealing to and being read
only by longtime fans. And to be quite honest, with the way that
such titles as Ultimate X-Men
and even Ultimate Spider-Man
wallow in excess, certainly the one with the X-Men, I canít say that
I can see much of anything great in this line, if at all. Suffice it
to say that itís so padded out in its story arcs, a very big problem
lately with Marvel, that as a result, that too reduces its impact
storywise, and makes it all the more harder for me, for one, to
credit Brian Michael Bendis (who noticably does not seem to deal
with any of Marvelís mainstream series, just Marvel Knights and
While I donít begrudge anybody whoís a fan of the Ultimate line, Iím
not sorry to see this series go, and frankly, I wonít be even when
others bite the dust as well.
#129 (Marvel): This actually ended a year earlier, with
issue #115 and some of the older cast(cast members like Domino
survived). The idea here was to make room for a new concept, a
satirical series that could have a funner edge to it, starring a
cast of mutants who, in contrast to the viewpoint used in past
years, were celebrities and such, accepted by the public at
large, and which even added a funny little mascot named Doop to
Well you know, in regards to the premise, that part I like.
However, as envisioned by Peter Milligan and artist Mike Allred,
the premiere issue for the characters used in this series, at
least, was a very tacky affair. I just hated to have to see that
bloody skewering that took place in here. Not that the artwork
itself was a problem, mind you; I realize it's all part of the
satire, but that gore, well, is this really what the X-books are
being published for? And with Allred doing the chores here, it's
like I'm seeing all-red!
As for the series that came before all this, let me point out
that it wasn't all that bad, but, it was still just riding the
coattails of the two main X-books. Only a few of the characters
here appealed to me, and hopefully, those'll be the ones to have
survived till now, even if they're not in the spolight at
Cable #107 (Marvel):
Finally, a series that for the most part was redundant, has come to
a most belated end. Well, almost. I'll explain soon enough.
When Nathan Summers first appeared in 1988, in New Mutants, IIRC, he was
admittedly more interesting then. But alas, not only did this future
born son of Cyclops and Madelyne Pryor come saddled with a
labrithyne background, he also had no personality to speak of, nor
any really good plots or adventures to compensate for that. What was
the Askni'son, exactly? The tribe that raised him? I can't figure
that part out. Nor can figure out what future wars he took part in,
or what his purpose in our timeline is exactly either. Is it to deal
with the crook who preceded the enemies he met in the future or is
just modern-day crooks? No luck in sorting that part out either. And
why is he being pursued by the law, if he is? You tell me.
Oh well, I guess you can't expect much when it comes to a character
who was created by committee, and/or by the hack writer and artist
who still manages to get work here and there, Rob Liefeld. Frankly,
as of today, I just can't be sure which was worse, his scripting or
his artwork. And I guess the best answer is both.
And yet, he still managed to survive as a series lead, in Soldier X, which will be dealt
with soon enough on the files. Isn't that amazing how they just
continue with the tradition of cancelling one for another?
Deadpool #69 (Marvel): I
know this series had its fans, and I don't begrudge them for that,
but personally, I didn't think much of it myself. The would-be sense
of humor was near offensive, such as where it featured a pair of
schoolgirls as killers, and Wade Wilson, who I think was intro'd in
X-Force, never struck me as very appealing. A character whose facial
features were damaged so badly he wears a mask, he specialized in
being an assassin(!), and that's what really turned this series into
a train wreck for the most part.
Oh sure, the very talented Gail Simone made it more readable when
she took it over. But unfortunately, Deadpool's profession sticks
out like a sore thumb, and it weighed in heavily against him as a
character. And the humor that took place in the series when it first
began was no help either.
For the record, why is it that now, they're writing him together
with the aforementioned Cable in a new series, called Deadpool and Cable? Beats me,
but apparently, there's still a market out there for both of them,
so I guess they figured they could both survive if put together as
partners in crimefighting in the same book.
Captain Marvel #35 Volume 2
(Marvel): Ended and relaunched as part of a ludicrous marathon
between writer Peter David and the now ousted COO of Marvel, Bill
Jemas, attempting to prove himself a writer with a lugubrious item
he called Marville, which
was written by him as a lark.
That was, to say the obvious, one of the most insulting things that
they could've done when Jemas was trying to run Marvel as more a
controversy machine than a house of entertainment. They even said
that the loser would let himself be dunked in a bucket of water at a
convention for comics, but of course, that never happened. However,
it is possible to say that that little notion of theirs on how to
get people to buy CM -
namely, the fans who were already reading it - may have damaged the
book artistically to a certain degree.
Not that I admittedly thought much of it when I looked it over a few
years ago, aside from the fact that it apparently wasn't for younger
readers, other than seeing how it dealt more in depth with Rick and
Marlo Jones' relationship (hint, hint), but in any event, I got
bored of it soon afterwards (sorry, CM fans), and lost interest. All
I can say now is this: bring back Photon of the Avengers in the role
of Captain Marvel, please!
And as for Marville, well,
that's something that'll have to be dealt with in the next
installment on cancelled comics (see 2003),
ditto the cancellation of the CM volume that followed this one (see 2004).
Deadman #9 (DC): The title
character first appeared in 1967 in Strange Adventures #205, and like his name, yes,
he was dead, and began his career after his own murder. Originally
circus acrobat Boston Brand, who just so happened to use the name
Deadman as part of his act, he was shot by a sniper and fell dead to
the earth. The supernatural entity called Rama Kushna took interest
in his plight and kept his spirit alive until he could find his
killer, who had a hook in place of the hand, vaguely similar to the
one-armed murderer who had put Fugitive
star Richard Kimble's wife to death in that classic 1963-67 TV
series. While he was invisible,
intangible and inaudible in spirit form, Deadman could
also possess the bodies of people on earth, which led to the part
that he enjoyed the most - incriminating, implicating and exposing
criminals in acts of crime so they could be captured more easily.
Deadman eventually found the culprit who'd done him in, but it
turned out the murderer's act against him was only the beginning -
he had done the deed as a means of proving himself to the League of
Assassins, his green light to joining the gang. But before he could
get his personal revenge against his murderer, wouldn't you know it,
the gang's leaders did in the assassin themselves. That certainly
was a surprise, but a disappointment for Brand. Nevertheless, Kushna
felt that he had done well as a superhero in the afterlife, and so
he made sure that Brand would be able to continue his career as
So anyway, yeah, he's been able to do just that, but, other than
that, Boston Brand has never been a solid seller, despite having had
this and an older title that were published back in the late 1980's,
though he had turned up in more than a few places of interest,
perhaps even the Spectre, which was lucky to have sold better than
Deadman's title did, when John Ostrander was helming the book back
in the 1990's. The best places where Brand fared were in miniseries,
but as an ongoing title, unfortunately, he had little luck.
It's kind of a pity, since the premise is an intriguing one, and the
character's design does look pretty cool. Still, one thing that can
certainly be said is that Deadman, like the Spectre, has been far
more successful than their Shadow Age occult counterpart, the
Phantom Stranger, who's only had one real series, published during
the Bronze Age.
(DC): So comes to an end the title starring the little speedster who
could, Bart Allen, the grandson of the legendary Barry Allen, the
second Flash in the DCU, and cousin of now Flash Wally West.
When Bart first debuted in 1994, having come into existance courtesy
of Zero Hour, as it
appears, Mark Waidís brainchild, whom he came up with as the teen
speedster of the new era, was a sleeper success, and was likewise so
when his own solo book came out the year afterwards, just like
Superboyís book. Isnít that amazing how they can be so successful
within just a short amount of time!
He was the only speedster during the 1990ís who maintained a secret
ID (hey, heís a teenager!), and having been born in the future with
a troublesome disease that caused him to age too fast, he initially
had to spend most of his time in a virtual reality machine, under
the care of his grandmother and widow of Barryís, Iris West Allen,
after his parents had been murdered by government agents. After the
machine broke, that was when she decided to return to the present
with Bart in tow, having nothing else to live for in the 30th
century in which she was born, where Wally, now the Flash, figured
out how to cure the disease and bring Bartís development down to a
normal rate. With that, Bart then was taken into the custody of
veteran speedster Max Mercury, who resided in the fictional city of
Manchester in Alabama, with whom he continued to live and go to
school in the area, where he aquired a nice ensemble supporting cast
of friends for himself, including Helen Claiborne and Carol Bucklen,
and even had a nigh-archvillain of his own in a clone of his called
Inertia. After Max was abducted by the archnemesis of the first
Flash, Jay Garrick, the Rival, he went to live with Jay and his wife
Joan back in Keystone City, while teaming up with the formerly known
as Young Justice and now
the new roster of the Teen
The series sometimes tended to be more tongue-in-cheek in its
approach to storytelling than the regular Flash was, since Bart is
the kind of character who tends to get distracted though he does his
best not to when it comes to crimefighting. And for awhile, with
writers like Waid and even William Messner-Loebs helming the book,
it worked out very well, but in the end, DC pretty much let down on
this title, and let it end up slumping enough in both artistic
quality and sales so that it got cancelled.
And now, with the new volume of Teen
Titans having been launched to continue from where Young Justice ended, Bartís
pretty much taken up the codename his cousin Wally held when he was
his age, Kid Flash. Iím going to really miss the time when he was
called Impulse, a name that actually seemed to suit him quite well,
but, as I can tell, the change having been done now is mostly part
of his own characterís development, and I got to give them credit
Marvel Knights Volume 2 #6
(Marvel): Itís not so much the cancellation that bothers me here as
it is the starting over again from number one on the issue.
Actually, maybe itís the fact that Chuck Dixon had nothing to do
with this so-called revival that bugs me. In any event, as far as
Iím concerned, the MK line ended with Dixon, and this short-lived
sucker certainly doesnít help matters.
Suicide Squad #12 volume 2
(DC): Despite having the esteemed writer/artist Keith Giffen helming
this attempt to revive the 1987-92 series, this just didn't take
off. Maybe the error made here - and this was just in the first
issue - was in killing off Big Sir, the former mental patient who
first appeared towards the end of the Flash's first volume who'd
been exploited by the Rogues' in an attempt to kill him while he was
on trial for the killing of Professor Zoom, but everthing was
luckily set right, and after being cured of his mental illness by
Solovar from Gorilla City, Dufus Ratchet decided to reform and
become a do-gooder instead. Plus, even the Clock King, Multi-Man and
the Cluemaster were done in during the premiere story, the latter
being the father of Stephanie "Spoiler" Brown, the girlfriend of
third Robin Timothy Drake, who subsequently substituted for him in
the career he took over for when his predecessor, Jason Todd, was
killed off in 1989's Bat-story, A
Death in the Family.
I've been wondering more recently if Geoff Johns is trying to help
put together a new Squad featuring Trickster, Heatwave and Pied
Piper, but that's still "to be announced". So we can only see what
we shall see. But without Amanda Waller, one of the directors of the
previous Squad and later part of Lex Luthor's cabinet when he was
president in the DCU, around to lead it, I doubt it'd work out as
Nope, no data to be found for these two months. Oh well.
Copyright Avi Green. All rights